BEFORE MIDNIGHT

Director: RICHARD LINKLATER

Cast: ETHAN HAWKE, JULIE DELPY

Screenplay: RICHARD LINKLATER, ETHAN HAWKE & JULIE DELPY

Music: GRAHAM REYNOLDS

Run Time: 109 min.

(2013)

Boy met girl.  (Eighteen years ago)

What started out as an experimental stand-alone film has now turned into a trilogy (and hopefully more).  We first met Celine and Jesse on their promising first date in Vienna (Before Sunrise) and then revisited the duo nine years later in Paris (Before Sunset).  It has since been another nine years.  But this time, unlike the past interval, they have spent the last nine years together instead of apart.  The couple now lives in Paris,  has twin daughters and is on a Greek island vacationing at a friend's place.  Jesse is an established writer who has been invited by an older author to visit the southern Peloponnese island.  Celine continues to work as an activist but is considering a new position.

The film begins with Jesse and Celine taking Jesse’s 14 –year old son, Hank, to the airport as he returns to the US where he lives with his mother.  Jesse is worried about not being an active presence in Hank’s life and might regret missing out on moments that can never be recreated.  Hank comes across as a smart and well-balanced teenage who is well-adjusted to his circumstances.  They function as a single, unified family unit which is manifested by Celine’s comment about Hank’s departure: “It’s like we are sending him across enemy lines.”  Jesse begins to question whether he should try to be closer to Chicago to spend more time with Hank. 

The second act offers a first for the series: Jesse and Celine interacting with other characters in a meaningful manner.  There are other interesting personalities that have been invited to the island and we are privy to a dinner setting with this endearing group.  The dinner sequence and conversation is a rich piece of cinema.  It isn't that the conversation is profound but it is so lively, engaging and warm that one wants to be a part of it. This segment offers a delightful confluence of some very interesting ideas as the authors discuss story premises and their experiences.  In all honesty, this segment does little to further the narrative but provides the lead characters a broader canvas to express themselves.

The third and final chapter is more reminiscent of the previous two films albeit much darker and heavier in tone.  Jesse and Celine have been gifted a night's stay in one of the hotels on the island.  They take a walk to the hotel through the town and begin a conversation about their relationship.  This is not a newly-wed couple or early-in-the-relationship lovers being flirtatious or tender with each other.  This is a seasoned couple comfortable with pulling no punches and being emotionally honest.  The discussion continues once they check in and get to their room.  The scene in the room is the cornerstone of the film as their conversation takes a turn for the worse and turns into a fight. The beauty of this scene is that the way the argument begins and turns into a fight (and ends) is so natural and realistic that we can identify with it completely.  Most married (or long-term) partners have lived through this fight and will admit that it is very difficult to pinpoint when the fight started.

The two leads have established their chemistry in the previous films and have grown into their roles, with clear input on the script which was developed in a workshop style.  Delpy has aged a little since the last outing but retains her radiance.  Hawke on the other hand appears to be showing the passage of time on his face a little bit more obviously.  However Hawke's Jesse seems have a better grasp on his convictions and perspective after 18 years.  Linklater provides insights into the characters via casual introspection.  For example, Jesse muses about the time when he called his dad upon his grandmother’s death and blurted out: “Hey Dad, you’re an orphan now!”.  He admits that it was not what he meant to say at the time but it reveals a bit about his personality and mindset.

The third installment does not mark the beginning of the end but is more of a testament to the maturity of the relationship.  This comes with a tinge of bitterness along with all the good that accompanies it.  The first film was about romantic beginnings and the sequel was about second chances.  This one is about reality, both good and not-so-good.  We happen to catch Jesse and Celine on a night when they have a fight but that does not define their relationship just as their previous encounters did not guarantee a fairytale lifetime.  One of Jesse's comments sums it up nicely: "But if you want true love, then this is it. This is real life. It's not perfect, but it's real."

It would have been easy to create a romanticized coda and tie the trilogy in a nice bow.  But Linklater is not one to cheat either himself, the characters or the audience.  He is bold enough to present "happily ever after" for what it is in life: a fantasy.  Which is why we hope that he and his collaborators will endeavor to provide at least one more glimpse into Jesse and Celine's life a few years down the road.

BEFORE SUNSET

Director: RICHARD LINKLATER

Cast: ETHAN HAWKE, JULIE DELPY

Screenplay: RICHARD LINKLATER, ETHAN HAWKE & JULIE DELPY

Music: FRED FRITH

Run Time: 80 min.

(2004)

Boy meets girl, again.  Nine years later.

It is not often that one gets a chance to revisit likeable characters from a film which is not an obvious candidate for a sequel.  Before Sunrise presented us with Celine and Jesse, a pair of smart twenty-somethings that made an impression on the audiences.  The movie was a moderate success on the big screen but not enough to motivate a sequel for monetary gains.  The former was almost an experiment trying to break from the conventional mold of romantic films.  It follows an American boy and a French girl through the streets of Vienna on the night they first meet.  They part ways at the end with a promise to meet after 6 months in the same place.

Before Sunset places us about nine years into the future from that point; this time in Paris.  On a summer afternoon, Jesse is promoting a book he has written about the fateful night in Vienna.  As he is discussing the book and taking questions at a famous literary landmark (Shakespeare and Company) in Paris, he notices a familiar face in the back.  It is Celine who read about his appearance and came by to meet him.  He has a flight to catch in a couple of hours and the movie slips into real time as the two try to catch up on the past decade of their lives. 

Jesse is in a failing marriage and has a young son to whom he wants to provide a role model.  Celine is an idealistic activist working for a cause she believes in but appears to be a bit jaded.  The conversation begins with a bit of expected awkwardness but they quickly settle into a smooth flow, quietly reiterating the compatibility they share.  There are the obvious questions that need to be answered: what happened in Vienna 6 months after they parted?  Did one of them not show up?  And why?  All of these are addressed rather promptly so that the narrative can move forward rather than pursue a conventional climax.

It is evident that the meeting in Vienna never took place but that night certainly left a mark on both of them.  In his case, Jesse has written a novel about it which makes it obvious.  In her case, the impact is revealed in a song she has written and chooses to play for him later.  The conversation, while engaging, is not the key focus as in the earlier film.  Here, Linklater achieves something more refined.  He captures the way they converse more intimately than before.  It is a delight to observe the two characters (and actors) playing with what they choose to reveal to (and conceal from) each other.  The audience gets to notice gestures by one character when the other is looking away.  Being in one of the best cities in the world to walk about and have a coffee, certainly adds to the atmosphere of the film on a lovely summer afternoon.

The script flows quite smoothly and Linklater has involved Ethan Hawke and Julie Delpy in writing the script.  It is a nod to the ownership that these actors have shown towards these characters.  Some of the lines must have been ad libbed and the conversations certainly reflect their personal experiences as they emote on screen.  In fact, the concept is laid out in the opening scene as Jesse explains his writing process.  Clearly the film succeeds on the strength of its two leads.  Jesse offers one of my favorite lines as he describes his failing marriage: “I feel like I'm running a small nursery with someone I used to date.”  It is quite a telling line.  Not to be left behind, Celine offers a gem at a later point: “Memory is a wonderful thing if you don't have to deal with the past.”

Linklater builds up the meeting to a fitting cliffhanger of a climax which leaves one wanting to hang out with these two for just a little bit longer.  Linklater’s experiment certainly pays off.

Download this: “Just in Time” by Nina Simone

BEFORE SUNRISE

Director: RICHARD LINKLATER

Cast: ETHAN HAWKE, JULIE DELPY

Screenplay: RICHARD LINKLATER & KIM KRIZAN

Music: FRED FRITH

Run Time: 105 min.

(1995)

Boy meets girl.  A perfect first date.

A first date, if long and interesting enough, can tell you a lot about the other person.  For some reason when two people genuinely connect, they share a lot on initial dates. Perhaps it is the promise of a new pristine relationship that emboldens one to bare oneself honestly.  Or perhaps one is caught up in the emotion of an auspicious beginning and doesn't care about portraying oneself in any particular light.  Writer-director Linklater's experimental movie takes us along on a lovely first date between two young twenty-somethings, Jesse and Celene.

It is 1994, Bloomsday (16th June, the day James Joyce met his future wife Nora and walked the streets of Dublin) when Jesse and Celene happen to come across each other on a train headed to Vienna. There is an initial spark between the two and he convinces her to get off the train in Vienna and spend time with him till sunrise, when he has to catch a flight to the states.  We then follow the two strolling around in Vienna having interesting and diverse conversations as they get to know each other... and we get to know them. 

Linklater wisely chose his characters to be in their twenties instead of teenagers.  This is not a teenage rom-com.  These are characters that have already been through their teen years and have just entered into maturity.  They are still young and idealistic (perhaps somewhat pretentious to some) but have well-formed notions and ideas. Their conversations range from topics of love and life to spirituality.  The script is extremely well written and the discussions are very engaging.  The pace is unhurried but there is no lull in the movie.

Jesse has been touring Europe and is fresh off a break-up with his girlfriend, which is the reason why he is on his own and headed back home.  Celeste is returning to Paris from a visit to her grandmother in Budapest.  He comes across as an intelligent, charming and perhaps a little unsure young man.  She, on the other hand, is smart, confident and somewhat feisty.  Both are very attractive and intriguing young persons and we don't mind spending time with them.

There is a quiet yet powerful chemistry between the two leads and Linklater allows this to develop without rushing it.  We catch them stealing glances at the other when one is not looking, especially in a scene at a record store (remember those?) listening to music.  There is a moment when one reaches out and almost brushes the hair from the the other's face because it just seems so familiar.  They talk about nothing in particular but lay out interesting thoughts.  What if the human soul is just a fragment of the original soul and as we multiply further, it get further fragmented?  Is that why we are so scattered and specialized?  Isn't everything we do in life a way to be loved a little more?  Why is it that a dog sleeping in the sun is beautiful but a man standing at a bank machine is mundane?

 

The night slowly builds towards the inevitable sunrise when the two have to go their separate ways and the magical night must end.   While there  is no climax which might seem contrived or forced, the impending moment looms throughout the night.  The movie works primarily because of the two leads.  Ethan Hawke and Julie Delpy have an effortless chemistry and their conversations seem less scripted and more adlibbed.  Linklater does a great job of involving the city of Vienna as a silent performer in the narrative. 

 

Clearly, we find it difficult to part with these characters and want to accompany them beyond sunrise.  It is a remarkable feat by an adventurous director and makes for a very memorable movie.
 

GRIFFIN & SABINE

An Extraordinary Correspondence

Making a case for tactile books in a digital world

Griffin Moss, an artist living in London, receives an intriguing postcard from Sabine Strohem commenting on a concept for one of his cards (Drinking like a fish).  It should not be in the least bit unusual for an artist to receive some reflection on his artwork.  But, Griffin does not know who Sabine is.  Moreover, Griffin has never shared his concept for the card with anyone.  So, how does someone from a remote island in the Pacific know this?

Drinking like a fish

This is how one of the finest epistolary books begins. The book is a collection of postcards and letters sent by these two characters to each other.  Each page shows the postcard artwork on one side and upon turning the page, one can read the message.  In case of letters, one face of the page shows the front of an envelope and upon turning the page, one finds an envelope that can be opened to pull out a letter as shown below.


Envelope



Letter on following page

There is a narrative element which is interesting on its own but the form takes it to another level.  Without the accoutrement, this would make for a nice little short story.  But by having the letters and postcards, it offers an almost voyeuristic pleasure.  It also serves as means to making the story and the characters a little more intimate to the reader.  There is a certain delight in going through the envelopes and pulling out the letters as you progress through the story.  This is one aspect where the digital medium cannot compete and falls short.

The artwork on each postcard and each letter is excellent.  Since the communication takes place between someone living in London and the other person living on a fictitious island, it gives Bantock the liberty to create some new stamps.  The artwork on the postcards is attributed to the two characters and largely, the artwork on each communication ties in to the message.  This enhances the narrative flow and pulls the story together.

A concept such as this was bound to be successful, and it was.  This has led to two more books creating the Griffin and Sabine trilogy.  The tenacity of the characters' draw on their fans was such that Bantock created a sequel trilogy a decade later where two other characters are introduced, Matthew and Isabelle.  The content and the artwork in both trilogies is superb and lives up to the high expectations set by the first book.

Griffin and Sabine is one of the reasons why one would keep and hang on to a book.  While there are many merits to the digital medium in literature, there is simply no translation for the experience offered by a work like this.  Yes, the paper will age and portions will fade over time.  Perhaps the pages will start coming apart at the seams. But that will only add to the charm of this work, unlike the sterility of a digital reproduction.  This is a prime example of why paper books will never go away.

If you know someone who loves books or someone you want to fall in love with books (or just someone you love, period) then you have a perfect gift at hand.  You can thank me later.

Note: The postcards in the books are also available as a boxed set and are worth getting.

LEKH ELIOT PARMAR

[Click on picture for photo album]

Late... but so worth the wait.

July 6th, 2012 was a highly anticipated date in the Parmar household.  That was the due date given by the doctors for our second child.  Since we had decided not to find out the gender of the baby, the anticipation and eagerness grew with each day approaching the due date.  More than anyone, our firstborn, Meru, could not wait for a promotion to the coveted "Big Brother" position.  They say good things come to those who wait.  And wait we did.  

We were told by most people that the second one arrives sooner so we should be prepared to welcome the baby as much as two weeks earlier than the due date.  We got ready.  We would have gotten Meru more excited, if that were possible.  The last week of June came and went.  We watched the fireworks on the 4th of July with the car ready to rush off to the hospital.  Finally July 6th came... and it went.  This baby was not quite ready to leave Mummy yet.  But the baby was healthy (kicking all day long to prove it) and we were assured by the doctors to wait till the 11th when they had scheduled the c-section.  

Well, we welcomed another baby boy on 11th July, 2012 around noon.  He's a big baby and more than makes up for the wait.  Fortunately, the biggest challenge we had that day was to convince Meru that his brother won't quite be ready to play with him in the evening.

Catherine and I would like to introduce our newborn son, Lekh Eliot Parmar.

Date: 11th July, 2012
Time: 12:24 PM
8 pounds, 13 ounces, 21 inches
Pennsylvania Hospital, Philadelphia

It took us a few days to finalize his name as we followed the family tradition of naming the child based on his/her moon sign, Aries in this case. 

Lekh: (lā-kh, lei-kh) A sanskrit word for text, writing or script.   

Eliot: (ĕl-ee-ut) One of Catherine's favorite names (named after the poet)

Since we didn't know the gender of the baby, over the last 6 months we have been referring to him as Biju-baby ("Biju" means second in Gujarati).  The nickname appears to have stuck, especially since Meru doesn't see any reason to give him another name.

Four years ago when Meru was born, we told friends that life, as we knew it, had changed (to put it mildly).  Well, life just got a little more interesting.  It is hard to articulate how much joy this little one has brought to our lives.

Welcome home, Biju!  

आयुष्यमान भव, यशस्वी भव।

SHAME

 

Director: STEVE McQUEEN

Cast: MICHAEL FASSBENDER, CAREY MULLIGAN

Screenplay: ABI MORGAN & STEVE McQUEEN

Music: HARRY ESCOTT

Run Time: 101 min.

(2011)

Mesmerizing but disturbing.

[Disclosure: This is rated NC-17 and rightfully so.  While there is graphic nudity and sex depicted, the subject matter itself is certainly not appropriate for minors.  This is one NC-17 film with sex scenes that are anything but sexy or gratuitous.]

Brandon Sullivan is a handsome, well-coiffed, immaculately dressed thirty-something who is apparently very successful at work.  He lives in a modern but somewhat sterile apartment in New York City.  He is confident, well-spoken and can be quite charming.  However there is another side to his persona that is concealed from all that know him.  He has an addiction that leads to constant urges and impulses focused on sex.  He spends every living moment he can engaged in some form of sexual activity: porn, escorts, masturbation, group sex, bar pickups and more.  British artist Steve McQueen portrays a fascinating character study of a sex addict whose obsession can only lead to self destruction.  

Brandon's aimless but organized lifestyle is disrupted by the sudden presence of his sibling, Sissy, another damaged soul who shares a painful past with Brandon.  There is a hint of something that happened to the two siblings a long time ago and each has chosen a different way of coping with this.  This history that the two have is left to the viewer's imagination based on what one chooses to read in their interactions.  Brandon has chosen to be reserved and insular divulging no emotion to the outside world.  Sissy, on the other hand, throws herself to every man she encounters with an unrestrained hunger.  She wears her emotions on her sleeve and her scars underneath.  They are like oil and water.

The film focuses solely on Brandon and we view Sissy and a few other characters from his point of view.  While he shuts himself to the rest of the world, he cannot prevent Sissy from encroaching his space.  McQueen subtly illustrates how no one can illicit any emotion out of Brandon.  In fact, Sissy is the only one who can provoke any emotion out of him and that is only anger.  She constantly angers him because she represents a past and a reality that he is trying to ignore.  We meet Brandon as he goes through his routine and then see the complications brought by Sissy's appearance.  We accompany him with his boss to a bar as a wing-man and see his boss flop shamelessly.  Brandon, as we see later, cannot afford to fall flat.  His need to hook up is far beyond a hobby or a conquest, it is a true need.

The film succeeds primarily because of three major contributors.  Michael Fassbender is simply brilliant as Brandon and does a remarkable job of expressing volumes with hardly any dialog.  He portrays the different aspects of Brandon's persona with amazing clarity: the confidence, the pain and the guilt.  Carey Mulligan, as Sissy, is compelling, building on her earlier roles, especially An Education.  She is successful in revealing the insecurity and lack of self-esteem that Sissy is burdened with.  There is one scene in particular where she shines but I will get to that in a minute.  The third contribution, as significant as it is subtle, is New York City the way it is captured by Steve McQueen.  As a visual artist of critical acclaim, he has put a stamp on his creation by making New York a key player in the context of his narrative.  A vibrant, bustling metropolis can serve equally well in depicting the loneliness of its inhabitants.  He directs his camera to capture the city in an engaging yet distant manner.  The background score by Harry Escott complements the camerawork beautifully.

A good film usually separates itself from the rest with one or two memorable scenes.  Shame has at least three scenes that elevate it from a good film to a masterful one.  The first is an early scene on the subway train as Brandon commutes to work and notices a beautiful passenger sitting across.  There is no dialog but so much is spoken and exchanged simply through the eyes of the two strangers.  It is a scene that is powerful and flirtatious all at once.  The second scene is one of the many sex scenes and it focuses on Brandon's face as he has an orgasm.  It is a face contorted with pain, anger and sadness; a complete contradiction to the popular perception of climactic pleasure.  It is as if he is enduring this congress to seek the release that he craves.  McQueen avoids lengthy discourses in favor of a scene like this to make his point that this addiction is ultimately nothing other than self-abuse.  The third scene is one where Brandon finally caves in and goes with his boss to see Sissy at work as she sings at a lounge bar.  Sissy's rendition of "New York, New York" is lovely but more powerful is her emotion in the context of the narrative as she tries to connect with Brandon.  The camera focuses on her face for most of the song. (It took about 15 takes as McQueen wanted a complete unbroken shot with the entire song.)  This scene is easily worth the price of admission.

McQueen has done a terrific job of giving credence and authenticity to an addiction/disorder that has for the large part been the butt of jokes for late night television.  Brandon is cold, insular and completely possessed by his compulsions.  He is either incapable of making social contact or avoids it a as result of his past.  At one point, he admits that his longest relationship lasted four months.  The moment he feels any intimacy with a partner, his defenses seem to kick in and he runs away from it.  It is a sad painful existence badly in need of a cathartic release.  This is a terrific and fascinating film to watch, just not an easy one.

Trivia: Though the entire movie is set and filmed in New York, both the leads, the writer and the director are London-based Europeans.  Both the leads play American characters quite convincingly.

HERB & DOROTHY

Director & Producer: MEGUMI SASAKI

Cast: HERBERT VOGEL (Self), DOROTHY VOGEL (Self)

Run Time: 84 min.

(2008)

 "That's why the Vogels are very special. Why should you explain art? What's the need to verbalize art? Herb and Dorothy only look, look and look. That's their way of communicating with art and artists."
 – Lucio Pozzi (first artist interviewed by filmmaker Megumi Sasaki)

He was a postal clerk.  She was a librarian.  They live (to date) in a rent-controlled apartment in New York.  They are, very likely, the greatest art patrons of the 20th century.  In 1992, Herb and Dorothy Vogel donated over 2,000 works of Minimalist and Conceptual Art to the National Gallery of Art in Washington.  True to their belief that art belongs to everyone, they chose the Gallery primarily because it would ensure free access to anyone interested in viewing their collections. (The Gallery does not charge entrance fees and cannot sell any of its donations.)

At first glance, you would mistake Herb and Dorothy to be just another Jewish couple in New York living in a modest apartment with their cat, turtles and lots of fish.  But you would be wrong because this diminutive couple is anything but ordinary.  One would never even dream that this "ordinary" couple had amassed an invaluable collection of modern art worth millions and millions tucked away in every nook and cranny (and ceiling) of their humble abode. But that is precisely what they had done.

Herb and Dorothy got married in 1962 and worked out a plan to pursue their common interest in contemporary art.  They agreed to live frugally on Dorothy's salary from the New York Library while using his salary from the post office to buy art.  The criteria for acquiring a work was very simple: they had to like it, afford it and be able to transport it back on the subway or taxi.  They were in the right place and time to follow their heart.  Over the next few decades, they discovered and met several to-be prominent artists and acquired significant artworks.  While their apartment became overcrowded with works of significant value, they have yet to sell a single piece from their collection.

The documentary by Megumi Sasaki provides an intimate portrait of a couple that is very much in love with each other and art.  Herb had completed a couple of years of high school but, being a voracious reader, taught himself all about art.  Dorothy has a graduate degree and a keen interest in art.  The kind of art that they are interested in is somewhat difficult for most people to grasp.  Most of us are drawn to representational art such as depictions of landscapes, people, etc.  Their focus and interest lies in conceptual art where they seem to be drawn to shapes, color, texture or concepts.

By attending almost every gallery showing, opening and open house during the 60s, 70s and 80s, they not only collected a laudable collection of over 4000 pieces but also built a reputation and following amongst up and coming artists.  In a sense, if Herb and Dorothy picked up a piece from an artist, it was a validation of their creative abilities.  A key aspect of their collecting habit was that if an artist was out of their spending capacity, they simply admitted that and moved on to other emerging artists.  They even acquired some artwork by simply looking after an artist's cat while they were away! 

Over the years, it seems that they knew everyone in New York's art circle and everyone knew them.  The documentary features a veritable Who's Who of artists commending the passion and eye of the Vogels.  Among others, this includes Christo and Jeanne-Claude, Chuck Close, Lynda Benglis, Pat Steir, Robert Barry, Lucio Pozzi and Lawrence Weiner.  Herb & Dorothy's loyalty to their passion is unwavering.  While many of the works they collected went on to being worth hundreds and millions of dollars, they never considered selling anything.  They love all the works (and artists) that they have collected and it brings them joy.  I suppose money could serve as a means to happiness but if you are already happy, it can only add complications.

The most important message from the remarkable life of the Vogels is accepting art for what it is.  It is not a commodity or an investment.  There is beauty expressed in several forms and the artistic value lies in its appreciation.  Art is not, and cannot be, limited to a select few.  One needs neither wealth or degrees to enjoy art.  Simply take the time to look... and look and look.  Follow your instinct and enjoy what appeals to you.  If you really enjoy the artwork, it will not matter whether the "value" of that piece appreciates or not.  Personally, I cannot claim to appreciate (or enjoy) all the works that the Vogels have collected.  But I also cannot explain why I enjoy everything by Bo Bartlett or Adam Vinson.

The Vogels were approached by several museums seeking their collection but they always declined.  They finally selected the National Gallery to donate their entire collection in 1992.  The museum pays them an annuity which the Vogels used to acquire more art rather than buy some furniture.  Since then, the collection has grown to over 4,000 pieces and the Gallery has acknowledged that the abundance of work is more than they can handle.  This has led to a national 50x50 gift project under which 50 works will be distributed to each of the 50 states.  One institute per state will carry the 50 works and will make it a part of their permanent collection.  More info is available at Vogel5050.org.  The project will most likely be completed in 2012 (along with another documentary by Sasaki), the year in which the Vogels celebrate their 50th wedding anniversary.  Quite fitting.